Description
Today, Ker-Seymer’s photographs are known for who they represent, rather than the face behind the camera. This irony is underpinned by the misattribution of some of her most daring and innovative images, to Cecil Beaton. This biography restores Ker-Seymer to her rightful position as an artist at the centre of the avant-garde. Moreover, it reveals a close network of like-minded practitioners across the arts.
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